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Vermeer's The Concert

Thursday, October 03, 2013

Stolen Art Watch, Gardner Art Heist, False Dawn, Or Final Cut ?

'We just want to bring these treasures back home where they belong'

Is the hunt for Rembrandt’s stolen ‘Galilee’ almost over?

According
to the FBI, the Coen brothers-esque heist is reaching its final chapter
after over two decades of empty frames in Boston

BOSTON – More than two decades after thieves stole Rembrandt’s “Storm on
the Sea of Galilee” from a Boston museum, the FBI continues to receive
new leads about the largest art theft in US history. Soon, detectives
hope, the Dutch master’s iconic seascape, and 12 other treasures stolen
on a cold March night 23 years ago, will be “back home where they
belong.”

On that bitter night of March 18, 1990, two men dressed as police officers were let into the Isabella Stewart Gardner Museum
by a security guard. After apparently overpowering two guards and
duct-taping them to chairs in the basement, the thieves helped
themselves to some of the world’s greatest art treasures.

During an 81-minute nocturnal spree, the
110-year-old museum was relieved of works by Degas, Vermeer and Manet,
as well as three Rembrandts. The thirteen stolen pieces were estimated
to be worth half a billion dollars – the largest private property theft
ever.

Twenty-three years later, empty frames still hang in the museum’s Dutch Room gallery, including one for Rembrandt’s five-foot-tall depiction
of Jesus calming a stormy Sea of Galilee. One of many Rembrandts based
on scenes from the Bible, it was the artist’s only seascape, painted in
1633 — 380 years ago.

In March, the FBI’s Boston office announced it
had determined the identity of the thieves, and that the stolen
masterpieces were originally brought to Connecticut and the Philadelphia
area. No other details have been released, but FBI officials have said
the hunt is in its “final chapter.”

‘Storm on the Sea of Galilee,’ by Rembrandt (photo credit: Gardner Museum)

“The works stolen from the Gardner are part of
what define us as a people, and they’re a big loss for who we are,”
Geoff Kelly, a special agent in the FBI’s Boston field office and art
crime team member, told the Times of Israel. “With the announcement in
March, we are trying to spread a wider net based on our leads in
Connecticut and Philadelphia.”

The FBI’s
wider net includes an unprecedented $5 million reward for information
leading to discovery of the stolen works, as well as immunity from the
US Attorney’s Office, Kelly said.

“The case itself is so fascinating, because
it’s right out of a Hollywood movie,” Kelly said. “It really resonates
with the public.”

Added Kelly, “It would have been great if
someone [came in] and said, ‘I’ve seen one of those paintings, it’s in
my basement right now.’” Unfortunately, that hasn’t happened yet.

A
detail from ‘Storm on the Sea of Galilee,’ by Rembrandt, thought to be a
self-portrait of the artist looking directly out at the viewer,
grasping a rope and holding on to his cap (photo credit: Gardner Museum)

Rembrandt based his 1633 “Storm” on a passage
from the New Testament’s Gospel of Mark, in which Jesus calms a “furious
squall” on the Sea of Galilee with the words, “Quiet! Be Still!”

Like other Rembrandt scenes from the Holy
Land, the master worked a small self-portrait onto the canvas, right in
the tempest-tossed boat with the apostles and Jesus.

According to scholars, the Bible was a kind of
personal diary for Rembrandt, filled with connections to his everyday
life. At least 60 of his paintings on Biblical themes run the gamut from
Old Testament figures like Moses, Samson and Esther, all the way to New
Testament scenes depicting the life, death and resurrection of Jesus.

Despite inserting his own likeness into some
panoramas, Rembrandt was obsessed with accuracy and detail in his
paintings, and even imported camels to Amsterdam for use in studies. The
artist made extensive use of local Amsterdam Jews as subjects for his
Holy Land paintings and depictions of Jewish weddings.

Rembrandt van Rijn (photo credit: public domain)

For art thieves from London to New England, Rembrandt is the undisputed master of choice for a good heist.

“Basically everyone knows who Rembrandt is,”
said Anthony Amore, the Gardner Museum’s security director since 2005
and lead investigator into the theft.

“There are Rembrandts in every major city in
the world, so there is that availability,” Amore told The Times of
Israel. “This availability combined with fame is the perfect storm for
theft.”

According to Amore, more than 70 thefts of
Rembrandt’s works have occurred during the past century. One Rembrandt
portrait – of Dutch engraver Jacob de Gheyn III – has been stolen no
fewer than four times since 1966, earning it the moniker “takeaway
Rembrandt” and a place in the Guinness Book of World Records.

One Rembrandt portrait has been stolen no fewer than four times since 1966

Almost all art thefts have an inside element,
according to Amore, making it imperative for security heads to be
intimately familiar with background checks conducted on museum
personnel. Amore is also quick to shatter the belief that art thefts are
committed by sophisticated, high-tech thieves.

“Art is not stolen by master criminals, but by
common criminals,” Amore said. “People are regularly calling us with
Hollywood-type theories about who committed the heist. But this is less
like “The Thomas Crown Affair” and more like a Coen brothers movie.”

A common Gardner heist myth is that the museum
was targeted because of poor security. According to Amore, the reality
is somewhat different.

Boston’s Isabella Stewart Gardner Museum (photo credit: courtesy)

“The fact is that almost all the other museums
in Massachusetts had been hit in the years leading up to 1990,” Amore
said. “At least two major museums in the state had Rembrandts stolen
during this period. The Gardner’s time had come.”

Of thirteen works stolen on that March night,
“Storm on the Sea of Galilee” holds a special fascination for art
aficionados. The painting was the focal point of the museum’s fabled
Dutch Room, and displayed directly across from a postage stamp-sized
self-portrait of Rembrandt – also stolen.

Though Vermeer’s “The Concert” was the most
highly valued work stolen, fellow Dutchman Rembrandt’s “Storm” has more
firmly captured the public’s imagination.

“Most of the pieces in the Dutch Room were
portraits,” noted Amore. “But this painting was a big dramatic scene
that caught your eye first, as a giant sweeping dramatic seascape. I
could talk for an hour about that painting.”

Since taking over the museum’s security in
2005, Amore has talked about the stolen works for a lot more than an
hour. In countless interviews and public speaking engagements, Amore has
sought to expand the museum’s quest to retrieve its stolen masterpieces
into the quest of art-lovers everywhere.

“We’ve made increased use of social media in
recent years, and also benefit from a symbiotic relationship between the
museum, the FBI and the US Attorney’s Office,” Amore said. “We just
want to bring these treasures back home where they belong.”

In the meantime, the appeal of Rembrandt and
his diverse body of work shows no sign of abating. Since the artist’s
death almost three and a half centuries ago, a mind-boggling array of
personalities – sometimes unexpected – have expressed an affinity for
the Dutch master.

One such notable was Rabbi Abraham Kook,
a founder of religious Zionism and the first Ashkenazi chief rabbi of
British Mandatory Palestine. During his years in London, Rabbi Kook
frequently visited the National Gallery and meditated on Rembrandt’s
works there.

“I really think that Rembrandt was a Tzadik,”
Rabbi Kook once told the writer Avram Melnikoff, using the exalted
Hebrew term for a righteous person.

“We are told that when God created light, it
was so strong and pellucid, that one could see from one end of the world
to the other,” Rabbi Kook said. “God was afraid that the wicked might
abuse it, [but] now and then there are great men who are blessed and
privileged to see it. I think that Rembrandt was one of them, and the
light in his pictures is the very light that was originally created by
God Almighty.”

Myles Connor Jr. tells Milton audience about his life and art heists

MILTON —

Myles Connor Jr. didn’t exactly return to the scene of the crime Thursday night, but he was close.
Almost 50 years ago, in 1965, the Milton native, rock ’n’ roll singer
and budding art thief committed his first robbery, taking Chinese vases
and paintings from the Robert Forbes House Museum. Last night he was
back in town for a speaking appearance at the Milton Art Center – not
much more than a mile down Adams Street from the Forbes House.
The irony wasn’t lost on Connor, but he shrugged it off.
“That was a different place, another time,” he said in a Patriot Ledger interview.
The appearance was a rare one for Connor. Now 70, he spent close to 20
years in prison starting in the 1970s for numerous convictions for theft
and cocaine dealing.
He never fully recovered from the heart attack he suffered in 1998
while in federal prison for the cocaine conviction, He can no longer
sing or play the guitar, and his speech is slurred. But he spent an hour
talking about long-ago robberies and why he did them, to a full room of
about 80 people – among them, a couple of old friends from the Milton
High Class of 1961.
Connor’s visit to the community art house – arranged with the help of
an old friend and local attorney – stirred some controversy in Milton
this week. But there was none to be seen Thursday night.
In a matter-of-fact tone, he said he’d planned a heist of priceless art
from Boston’s Isabella Stewart Gardner Museum in 1988, a couple of
years before the museum was robbed.
Connor was in federal prison when the robbery took place, so he wasn’t
involved. But he said his crew was hired by others in 1990.
The son of a Milton police officer, Connor said he took his fateful
turn into the criminal world when he finished a sentence at the state
prison in Walpole in the 1970s. Other ex-cons invited him to join them,
“and I foolishly went along,” he said.
Connor said he committed most of his art thefts so he could broker the
art’s return for the reward money, or reduce his or someone else’s jail
time. Sometimes, he said, he stole for “a little payback.”
As in past interviews, he said he wasn’t involved in the 1975 murders
of Karen Spinney and Susan Webster. Connor was convicted of the killings
in 1981, then acquitted on retrial in 1985.

Connor finished an 11-year federal prison sentence for cocaine dealing
in 2000, and served a final, brief state prison sentence in 2005. These
days he mostly keeps to his home in rural Blackstone, “waiting for just
the right woman,” he joked.
In his Patriot Ledger interview he scoffed at the FBI’s belief that
some of the art stolen from the Gardner Museum may be in the
Philadelphia area.
Connor said the pieces are “all the way around the world” – probably in Saudi Arabia, where they’ll never be recovered.
He said he followed the capture and conviction of Boston mobster James
“Whitey” Bulger, and allowed that Bulger “did a lot of bad things.” He
said a State Police friend warned him long ago to steer clear of Bulger,
so he did.
“He went his way and I went my way,” Connor told the Ledger.
As the Milton Art Center hour drew to a close, someone asked Connor if he had any regrets about his criminal life.
“Everyone has regrets,” he replied. “Only a fool has no regrets.”
A few minutes later he was signing copies of his 2009 HarperCollins
autobiography, “The Art of the Heist.” He was a long way from the Forbes
House.

READ MORE about Myles Connor. Listen to him talking about his book in 2009.